16.9 使用压缩进行音量控制:ReaComp——REAPER用户手册中文版

琴韵晓波

楼主 琴韵晓波说：
16.9 Volume Control with Compression: ReaComp
16.9 使用压缩进行音量控制:ReaComp

Earlier in this chapter, we encountered a Limiter. You can think of a limiter as being like imposing a ceiling - it stops the volume of a signal from going above whatever level you set.
在本章的前面,我们遇到了一个限制器。你可以把限制器想像成强加一个上限——它阻止信号的音量超过你设定的这个电平。
Because limiting can be harsh, it is often better to use a compressor on individual tracks. Think of it this way - a simple limiter cuts in suddenly and severely, whereas a compressor can be eased in much more gently. It might help to get a visual picture of what limiting can do to a recording compared to a well applied compressor. The three illustrations show the same waveform first as recorded, then how it might look with limiting (center), and with compression instead of limiting (right).
因为限制可能很苛刻,所以在单独的轨道上使用压缩通常更好。这样想吧——一个简单的限制器突然而严重地切入,而压缩器的切入可以轻得多。与应用良好的压缩相比,这可能有助于直观地了解限制会对录音造成什么影响。这三个插图,首先显示了与录音相同的波形,然后显示了限制(中间)和压缩而不是限制(右)时的波形。
Notice that on the original waveform the volume varies considerably from time to time. Applying a limiter can lift the quieter passages, but may make the overall effect too loud. The dynamics might be largely squeezed out of the song. The illustration far right shows the same waveform after carefully using a compressor instead of a limiter. The track no longer clips, and more of the dynamics of the recording have been preserved.
请注意,在原始波形上,音量不时会有相当大的变化。使用限制器(靠近右侧)可以提升较安静的通道,但可能会使整体效果过于响亮。在很大程度上,这首歌的主旋律已经被挤出了。最右边的插图显示了谨慎使用压缩器而不是限制器后的相同波形。轨道不再出现削波,更多的录音动态被保留了下来。
Software compressors vary from the simple to the complex. We’re going to concentrate here on just six essential controls. There are other factors, but let’s just focus on these six for now.
软件压缩器从简单到复杂各不相同。我们将在这里集中讨论六个基本控件。还有其他因素,但现在让我们只关注这六个因素。
? Threshold - This is the volume at which the compressor will kick in. For example, if you set your threshold at, say, -10dB, then nothing below that threshold will be compressed.
“Threshold(阈值)”——这是压缩器将启动的音量。例如,如果您将阈值设置为(比方说)-10dB,则任何低于该阈值的内容都不会被压缩。
? Ratio - This determines how gently or severely the compression is required. A relatively harsh ratio like 2 to 1 would ensure that for every 2 decibels the volume of the recording goes above the threshold, the sound will be increased by only 1 decibel. A more gentle ratio such as 12 to 1 would mean that for every 12 decibels the recording goes over the threshold, the sound will increase by only one decibel.
“Ratio(压缩比)”——这决定了所需压缩的程度。例如,相对苛刻的压缩比(如2比1)将确保录音音量每超过阈值2分贝,声音将增加1分贝。更温和的12比1的压缩比,意味着录音每超过阈值12分贝,声音只会增加1分贝。
? Gain - Adjusts the volume of the track after compression. Often you will want to raise the overall sound at least a little, to prevent the overall volume of the track from now being too quiet. The gain control in ReaComp (above) is labelled Wet.
“Gain(增益)”——这是压缩后调整轨道音量的方式。通常情况下,您会希望将整体音量至少调高一点,以防止轨道的整体音量从现在开始变得过于安静。ReaComp(上图)中的增益控制标记为Wet(湿声)。
? Wet/dry rotary (top right). Determines how much of the unprocessed signal is mixed with the processed signal. Fully right (as shown) this will be 100% wet: fully left will be 100% dry.
湿声/干声旋钮(右上角)。确定有多少未处理的信号与已处理的信号混合。完全右侧(如图所示),这将是100%湿声: 完全左侧将是100%干声。
? Bypass - this is the small tick box in the top right corner, next to the wet/dry rotary. When this is ticked the plug-in is active. When unticked it is set to bypass.
“Bypass(旁通)”——这是右上角的小勾选框,靠近湿声/干声旋钮。勾选此选项时,插件处于激活状态。取消勾选时,它被设置为旁通。
? Limit Output (bottom right) - This option will prevent the compressor output from exceeding 0 dB.
“Limit Output(限制输出)”——选择此选项将防止压缩器输出超过0分贝。
Note also the three controls attack, release and knee size. These help to control how the compression is shaped and applied. Attack determines how long the compression takes to reach its full effect. The release setting determines how quickly the compression will be removed when the signal falls below the threshold. Knee determines how sharply or gradually the compression is applied.
还要注意三个控件:“attack(启动)”、“release(释放)”和“knee(拐点)”的大小。这些有助于控制压缩的形状和应用方式。“Attack(启动)”决定压缩达到其全部效果所需的时间。“release(释放)”设置确定当信号降至阈值以下时,消除压缩的速度。“Knee(拐点)”确定应用压缩的幅度或程度。
For other more advanced controls, see the free ReaEffects Guide:
有关其他更高级的控件,请参阅免费的ReaEffects指南:
https://dlz.reaper.fm/userguide/REAPEREffectsGuide2021.pdf
Example
示例
1. Open the file All Through The Night.RPP and save it as All Through The Night COMP.RPP
1.打开文件All Through the Night.RPP,并将其另存为All Through the Night COMP.RPP。
2. Solo the Bouzouki track. Look at its media peaks. You can see that it starts at a steady volume, but over the last 30 seconds or so of the song it gets rather loud.
2. 独奏Bouzouki轨道。看看它的媒体峰值。你可以看到它以稳定的音量开始,但在歌曲的最后30秒左右,它变得相当响亮。
3. Play the track from the 55 second mark for about 15 secs then stop it. Try applying some compression to kick in at about -12 or -13 dB.
3.从55秒开始播放轨道约15秒,然后停止。试着施加一些压缩,以大约-12或-13 dB的音量开始播放。
4. Display the FX Window for this track.
4.显示此轨道的FX窗口。
5. Insert the VST: ReaComp (Cockos).
5.插入VST: ReaComp(Cockos)。
6. Create a loop to play over the last 20 secs or so of this instrument.
6.构建一个循环,在该乐器的最后20秒左右播放。
7. As you do so, experiment with setting the Threshold (vertical fader on the left) and the Ratio. Select the option to Limit Output. You’ll probably end up with a setting of something like -16 on the Threshold and a ratio around 4:1 or 5:1 (see picture).
7.进行此操作时,请尝试设置阈值(左侧的垂直推子)和压缩比。选择限制输出的选项。你很可能最终会把阈值设为-16左右,压缩比在4:1或5:1左右(见图)。
8. Now save this file.
8.现在保存此文件。
Channel Modes (Advanced topic)
通道模式(高级主题)
By default, ReaComp operates in stereo mode: this means that all active audio channels (usually 1 and 2) will be compressed based on analysis of the loudness of all such channels summed together. For many, if not most, users, this will be the only method you need. Indeed, this mode is mandatory if you are using a compressor with ssidechaining (see chapter 17). However, on the ReacComp I/O button right click menu there are also two mutually exclusive toggle options for multi-mono and multi-stereo modes. In multi-mono mode, each channel is compressed separately (with the same settings) based on an analysis of that channel. In multi-stereo mode, each individual pair of channels channels is compressed independently (with the same settings) based on an analysis of that stereo pair. Channel modes are also discussed variously in Chapter 17, in the contexts of channel routing.
默认情况下,ReaComp以立体声模式运行:这意味着所有活跃的音频通道(通常为1和2)将根据对所有此类通道的响度总和的分析进行压缩。对于许多(如果不是大多数)用户来说,这将是您需要的唯一方法。事实上,如果您使用带侧链的压缩器,此模式是强制性的(参见第17章)。但是,在Reacomp的I/O按钮右键单击菜单上,还有两个互斥的切换选项,用于多单声道和多立体声模式。在多单声道模式下,根据对每个通道的分析,分别对每个通道(用相同的设置)进行压缩。在多立体声模式下,根据对该立体声对的分析,对每一对通道对进行独立的(用相同的设置)压缩。第17章在通道路由的相关文字中也对通道模式有不同的讨论。

琴韵晓波

沙发 琴韵晓波说：
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